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Byron Davies
National Autonomous University of Mexico
  1.  18
    Remembering Stanley Cavell.Byron Davies - 2019 - Conversations: The Journal of Cavellian Studies 7:65-68.
    Memorial notice for Stanley Cavell originally published on the Harvard Philosophy Department website.
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  2.  15
    Review of Toril Moi, Revolution of the Ordinary. [REVIEW]Byron Davies - 2018 - Modern Language Notes 133:1416-1419.
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  3.  12
    Individuality and Mortality in the Philosophy of Portrait Painting: Simmel, Rousseau, and Melanie Klein.Byron Davies - 2018 - Contrastes. Revista Internacional de Filosofia 23 (3):27-52.
    This paper explores some connections between depictions of mortality in portrait-painting and philosophical (and psychoanalytic) treatments of our need to be recognized by others. I begin by examining the connection that Georg Simmel makes in his philosophical study of Rembrandt between that artist’s capacity for depicting his portrait subjects as non-repeatable individuals and his depicting them as mortal, or such as to die. After noting that none of Simmel’s explanations of the tragic character of Rembrandt’s portrait subjects seems fully satisfactory, (...)
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  4.  11
    Espectadores, gigantes e infancia: Jean-Jacques Rousseau y Víctor Erice.Byron Davies - 2018 - Correspondencias. Cine y Pensamiento.
    Spanish translation, with some additions, of "Spectators and Giants in Rousseau and Víctor Erice.".
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  5.  18
    An Autobiography of Companions.Byron Davies - 2011 - Modern Language Notes 126 (5):972-978.
    Part of a symposium on Stanley Cavell's memoir Little Did I Know held at the Johns Hopkins Humanities Center in 2011, this brief essay connects some themes from that book to concerns about knowledge of "what we say" as treated in the opening essays of his first book, Must We Mean What We Say?; and it attempts to illuminate the latter concerns by comparing them to recent philosophical work on self-knowledge, especially Richard Moran's book Authority and Estrangement.
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  6.  7
    Spectators and Giants in Rousseau and Víctor Erice.Byron Davies - 2016
    This essay explores how some themes in the writing of Jean-Jacques Rousseau—particularly having to do with what it is to be a spectacle before others—might illuminate two feature films by the Spanish director Víctor Erice, The Spirit of the Beehive (El espíritu de la colmena, 1973) and El sur (1983).
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